Tuesday, April 25, 2017

Guitar Jr. (Lonnie Brooks) - Broke An' Hungry

A1 Wee Wee Hours
A2 Things I Used To Do
A3 Go To The Mardi Gras
A4 Texas Flood
A5 Tom Cat Blues
A6 Rooster Blues
B1 The Train And The Horse
B2 Broke & Hungry
B3 When There's No Way Out
B4 Don't Touch Me Baby
B5 Bed Bug Blues


Saturday, April 22, 2017

Guitar Slim Jr. - The Story Of My Life

A1 Trouble Don't Last
A2 Letter To My Girlfriend
A3 Guitar Slim Jr.
A4 Bad Luck Blues
A5 Can I Change My Mind
B1 Too Weak To Fight
B2 Reap What You Sow
B3 Well, I Done Got Over
B4 Turn Back The Hands Of Time
B5 Sufferin' Mind

KansasJoe post:

Ruby Andrew - Kiss This

I Want To Rock With You Baby No. 2 3:40
Since I Met You 5:05
Que Pasa 4:18
To The Other Woman (I'm The Other Woman) 3:30
Kiss This 3:55
Lovey Dovey (Duet With Swamp Dogg) 3:15
Throw Some More Dirt On Me (The Shacking Song) 3:33
Loving You No. 44 3:15
I Got What I Want At Home 3:14
As In Always 3:43

Various - Last But Not Least - Blues Via 728 Texas

(Houston Town (Buddy Ace – Paula 343) / Stoop Down (Cash McCall – Ronn 76) / Tia Juana (Ray Agee – Jewel Unissued / Shirley 108?) / Everybody Don't Know About My Good Thing – Part 1 (Brende George - Ronn 60) / The Thril Ain’t Gone (Alex Williams & The Mustang – Jewel 812 / Soultrak 5145) / Tell Me The Truth (Jay Jay Taylor – Dynamite 8665) / Talk It Over One More Time (Roy Brown – Jewel / Chess Unissued) / Raining In My Heart (Peppermint Harris – Jewel 762 alternate take) / Bad Affair (Big Mac – Jewel 787) / Impeach Me Baby (Arlene Brown & Lee "Shot" Williams – Dynamite 8664) / I've Been Up On The Mountain (Joe Turner – Ronn 28) / Bowlegged Woman, Knock-Kneed Man (Bobby Rush – Part 1 – Jewel 834 / On Top 2001) / In A Recording Session - Booty Trap Baby (The Carter Brothers - Take 1-6))

Frits's Tapes Number 93 & 94

Tape 93:

Tape 94:

Doug Sahm ?????

Tuesday, April 18, 2017

Beale Street Blues Band - Live

Yet another little known tape from the collection of KansasJoe.


Skinnymon post with tracks split :

Sunday, April 16, 2017

Frits's Tapes Number 71 &72

Tape 71:

Tape 72:

Some nice 45's from Jerry McCain from Frit's.

Hartmuts Singles 45


Jerry McCain - Living Legend

A1 Harpos Blues
A2 Rock Me Baby
A3 Tip On Inn
A4 Scratch My Back
A5 King Bee
B1 Boogie
B2 Raining On My Heart
B3 Hip Shake
B4 Te-Na-Nee-Na-Nu
B5 Mohair Sam


Cuby + The Blizzards & Eddie Boyd - Praise The Blues

When Eddie Boyd appeared inThe Hague with the Blues Festival in 1965, at the first big blues concert ever to be heard in Holland, members of a group from Assen, Drenthe, Cuby and the Blizzards, were watching him. This group had started around Christmas the year before and consisted of: leader, singer and harmonica-player Harry Muskee, then 23 years old, formerly journalist at a local paper; 18-yearold guitarist Eelco Gelling, photographer at the name paper; 19-yearold basuguitarist Willy Middel and two others, who since then have disappeared. Harry Muskee, 'Cuby', had been bass-player and singer in Dixielandband (appropriately called something like 'The Old-Fashioned Group' and through this he had come in touch with the at that time yet to be discovered blues. When he formed his own group, which played in a cellar in Assen, he played a lot of Rhythm and Blues, just like the British groups who started the new trend of group-playing in pop music had done; like them he found in the blues (especially the Pontwar, 'Chicago' blues) an agressive individualism and emotional expressiveness which fitted in well with his own musical ideas. Cuby and the Blizzards turned into fuIl-pros after name time, stuck to the repertoire of their own choice as much as possible, developed a local reputation in the North and begon to make records the first in October 1965, the month when Eddie Boyd visited our country.
At the moment they have acquired a large following as the mast popular blues-influenced group of the Netherlands; their mast successful achievement on record until now hou been their first album, 'Desolation' (Philips XPL 655 022), recorded in November 1966. This induded versions of John Lee Hooker's 'Hobo Blues' and 'Let's Make It', TBone Walker's 'l'm In Love', 'Gin House Blues' and Eddie Boyd's 'Five Long Years', together with three original compositions, and It showed the natural ease with which the group plays its brand of blues nowadays. Particularly the young guitar player Gelling seems a gifted musician, shawing a sometimes remarkable resemblance to Buddy Guy. One of the advantages of the approach of 'C + B', as they are usually called today, is that they try to integrate their favourite examples from the bluesfield in a new style of their own - as opposed to the rather pretentions efforts afname young white folk and blues singers who laborlously try to recreate a past they were never part af. Since 1966 Cuby lives the country-life of his neighbours at the farm in Grollo. After three days of rehearsing there (Eddie Boyd slept in the cupboard-bed; they had to stop at 7 p.m. because the little children of the village have to go to sleep then), they made their way to Hilversum, where Boyd, Gelling, Middel and 18-yearold Hans Waterman on drums recorded the present album the 9th of March. As Boyd was handling the vacals, Cuby had to content himself with a cao chingrole;he played this role with enthousiasm, because in those three days an atmosphere of mutual friendship and a lot of fun had been built up (Eddie Boyd's favourite saying is 'mellow, man, mellow' and he possesses a great capacity to enjoy himuelf). The record contains ten compositions by Boyd (name originals, name re-recordings, e.g. 'Mr. Highwayman' from the Victar-days and 'Nuttin' 'But Trouble' and 'Twenty-four Hours' from his Chess-period), on two of which he plays organ, and Willie Dixon's 'Little Red Rooster', made famous by versions of Howlin' Wolf, Same Coake and The Rolling Stones. Apart from the musical qualities, the album also is a lasting souvenir to the years when an 52-yearsold American bluessinger could be accompanied by three Dutch boys, aged 21,20 and 18. A combination nobody would have dreamt of a few years ago, but which became possible in a period when the blues was, for the first time, not only an obscure form of lowdans American negro entertainment, but also a vital musical form which was accepted by a new generation in other parts of the world as a very fine means of expression. (Review plucked from internet many years ago)

Post including poster: